Christou’s work exa­mi­nes the poli­tics asso­ci­a­ted with insi­de and out­si­de spa­ces, in an attempt to expo­se the ways in which womxn ope­ra­te within them. In this pro­cess, the inner and outer worlds of the artist are expo­sed, in a paral­lel and at times con­flic­ting con­ver­sa­ti­on. An essen­ti­al­ly intro­ver­ted per­so­na­li­ty is tur­ned into a hyper-extro­vert per­so­na, see­king inti­ma­cy and con­nec­ti­on in an incre­a­sin­gly noi­sy world. Using herself as a medi­um of research, she enters public spa­ces with the pur­po­se of exa­mi­ning how expres­si­ve, femi­ni­ne, acti­vist, queer for­ces are being sup­pres­sed or silen­ced by the dea­fe­ning noi­se of patri­ar­chal and colo­ni­al structures.

Her work is charac­te­ri­sed as a ​‘prac­ti­ce to remem­ber’, as she draws from her child­hood memo­ries and upbrin­ging in a busy, at times cha­o­tic envi­ron­ment, sur­roun­ded pre­do­mi­nant­ly by women. Digging into her past, revi­si­ting engra­ved influ­en­ces, fee­lings and aes­the­tics, she ques­ti­ons how much of one­self remains intact in the pro­cess of gro­wing up and how much of it is ​‘acces­so­ri­sed’ in order to fit into cer­tain ste­reo­ty­pes. Recalling prac­ti­ces and habits from her child­hood, she finds that even in the most cha­o­tic envi­ron­ments the­re can be spa­ce for cre­a­ti­ve, gent­le out­puts, on which her prac­ti­ce is built on.

In an attempt to obser­ve the chan­ging cur­rents of ener­gy, in both micro and macro levels, insi­de and out­si­de spa­ces, the artist ulti­ma­te­ly pro­po­ses inten­ti­o­nal inno­cen­ce as the only for­ce able to with­stand the ​‘noi­se’, and trig­ger change.